Art Center of Tarragona. Bouchra Khalili. WET FEET | Association of Visual Artists of Catalonia
CA Tarragona Art Center presents its first public exhibition, "Wet Feet" by Bouchra Khalili. This is also the first solo exhibition contenaire of the artist in Catalonia and Spain, including the new project made during his recent stay in Miami.
His work blends documentary practice contenaire the conceptual approach to explore latent contenaire discourse contenaire on the margins of our known world. This puts into question the notions of identity, status, border, immigration laws, in exile, but mainly deals with the subjective expression of belonging contenaire to a place, nomadism, travel and illegal, clandestine existence and the pursuit of nationalization. contenaire
The title of the exhibition refers to the so-called law of adjustment in Cuba and the policy of "wet feet, dry feet" whereby Cubans who make it to U.S. shores can request political asylum in this country. Bouchra Khalili borrowed this expression to refer to the vital processes of those people who can not qualify for migration policies in Europe and the United States are forced, one way or another, to embark secretly to the Mediterranean or the Atlantic, the "wet" feet to achieve their goals. A "Wet Feet" articulated contenaire several projects around personal stories that have to do with the territories and their boundaries, the land and the sea, with the seam that joins and artificial boundaries that were imposed.
In this sense, The Mapping Journey Project (2008-2011) rests on the clash between the rules of the political map of the Mediterranean area and the narrative trajectories of the protagonists of eight unique travel illegal, contenaire the its excesses, n'esbossen mapping alternatives. Each story is recorded in a single shot-and it is narrated sequence using the image of a map displayed a hand holding a pen and signs of someone who dictates each stroke of this on paper. The voice and the absence of face debate between individuality and lack of identity, which has impeded the respective narrators enjoy travel in a straight line that allows the law. The results are new maps that know no limits or impossibilities, but wishes and hopes. During these journeys, time dilates and now seems to have no significance with the size of the company: from to another site, search without finding, fit setbacks, try to get the papers and came to England Sweden, the United States and Canada. Or wish to return home to see his mother, embraced the promise.
The series of serigraphs The Constellations (2011) is the last chapter of this project. They reproduce the geographical locations of each of the eight touring narrated by translating the drawings generated by the trajectories of migrants to imagine how the silhouettes that outlines the constellations of stars on the celestial sphere. In fact, a constellation is also the aspect of the stars at the time of birth (or rebirth) of a person's life. With this formal exercise, Bouchra Khalili, also erase the dividing lines land in favor of a continuous journey contenaire and point the endless possibilities of arbitrary paths connecting each point on the map, suggests a comparison with systems alternative orientation using sailors to determine their position in space, international waters not subject to the sovereignty of any state maps and fixed as eight possible routes which may also lead to other migrants.
The idea is also present in other Wet Feet (2012). In this case that person has remained the beloved homeland and who want to share the benefits and weaknesses involved in the migration. The series includes images of all kinds of boats and ships decrepit, rusty container, aged and damaged the vegetation that are confused. Again, hiding Khalili shows. These are the remains of a shipwreck while documentation metaphorical metonymic traffic fluvial Miami to the Caribbean and Latin America, the migration routes through contenaire which illegal immigrants more or less settled in the United States do get real and goods to their countries of origin.
The flow of migration and illegal trafficking of goods as a sign of illegality or tours and exemplary travel nationalization process legitimate confrontation is addressing the installation that closes contenaire the show. The title is heir to the collective name given to two sightseeing tours ferry to Manhattan, circular line. At three projections images are displayed in New Yor
CA Tarragona Art Center presents its first public exhibition, "Wet Feet" by Bouchra Khalili. This is also the first solo exhibition contenaire of the artist in Catalonia and Spain, including the new project made during his recent stay in Miami.
His work blends documentary practice contenaire the conceptual approach to explore latent contenaire discourse contenaire on the margins of our known world. This puts into question the notions of identity, status, border, immigration laws, in exile, but mainly deals with the subjective expression of belonging contenaire to a place, nomadism, travel and illegal, clandestine existence and the pursuit of nationalization. contenaire
The title of the exhibition refers to the so-called law of adjustment in Cuba and the policy of "wet feet, dry feet" whereby Cubans who make it to U.S. shores can request political asylum in this country. Bouchra Khalili borrowed this expression to refer to the vital processes of those people who can not qualify for migration policies in Europe and the United States are forced, one way or another, to embark secretly to the Mediterranean or the Atlantic, the "wet" feet to achieve their goals. A "Wet Feet" articulated contenaire several projects around personal stories that have to do with the territories and their boundaries, the land and the sea, with the seam that joins and artificial boundaries that were imposed.
In this sense, The Mapping Journey Project (2008-2011) rests on the clash between the rules of the political map of the Mediterranean area and the narrative trajectories of the protagonists of eight unique travel illegal, contenaire the its excesses, n'esbossen mapping alternatives. Each story is recorded in a single shot-and it is narrated sequence using the image of a map displayed a hand holding a pen and signs of someone who dictates each stroke of this on paper. The voice and the absence of face debate between individuality and lack of identity, which has impeded the respective narrators enjoy travel in a straight line that allows the law. The results are new maps that know no limits or impossibilities, but wishes and hopes. During these journeys, time dilates and now seems to have no significance with the size of the company: from to another site, search without finding, fit setbacks, try to get the papers and came to England Sweden, the United States and Canada. Or wish to return home to see his mother, embraced the promise.
The series of serigraphs The Constellations (2011) is the last chapter of this project. They reproduce the geographical locations of each of the eight touring narrated by translating the drawings generated by the trajectories of migrants to imagine how the silhouettes that outlines the constellations of stars on the celestial sphere. In fact, a constellation is also the aspect of the stars at the time of birth (or rebirth) of a person's life. With this formal exercise, Bouchra Khalili, also erase the dividing lines land in favor of a continuous journey contenaire and point the endless possibilities of arbitrary paths connecting each point on the map, suggests a comparison with systems alternative orientation using sailors to determine their position in space, international waters not subject to the sovereignty of any state maps and fixed as eight possible routes which may also lead to other migrants.
The idea is also present in other Wet Feet (2012). In this case that person has remained the beloved homeland and who want to share the benefits and weaknesses involved in the migration. The series includes images of all kinds of boats and ships decrepit, rusty container, aged and damaged the vegetation that are confused. Again, hiding Khalili shows. These are the remains of a shipwreck while documentation metaphorical metonymic traffic fluvial Miami to the Caribbean and Latin America, the migration routes through contenaire which illegal immigrants more or less settled in the United States do get real and goods to their countries of origin.
The flow of migration and illegal trafficking of goods as a sign of illegality or tours and exemplary travel nationalization process legitimate confrontation is addressing the installation that closes contenaire the show. The title is heir to the collective name given to two sightseeing tours ferry to Manhattan, circular line. At three projections images are displayed in New Yor
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